Search

The search found 5 results in 0.008 seconds.

Search results

1. windsound

   John Cayley’s “windsound” is an algorithmic work presented as a 23-minute recording of a machine-generated reading of scrambled texts. The cinematic work presents a quicktime-video of white letters on a black screen, a text written by Cayley with a translation of the Chinese poem “Cadence: Like a Dream” by Qin Guan (1049-1100). As a sensory letter-by-letter performance, the work sequentially replaces letters on the screen, so that what starts as illegible text becomes readable as a narrative, and then again loses meaning in a jumble of letters. Cayley calls this technique “transliteral morphing: textual morphing based on letter replacements through a sequence of nodal texts.” Sequences of text appear within up to 15 lines on the same screen, thus presenting and automatically replacing a longer text on a digitally simulated single page-a concept Judd Morrissey also applies in "The Jew´s Daughter." Unlike Morrissey’s piece, Cayley’s doesn´t allow the user to interact with the work.

   Patricia Tomaszek - 24.02.2011 - 17:19

2. ACITEOP. Disfunciones poéticas del lenguaje.

   Roman Jakobson defined the poetic function of language as being governed by principles of selection and order. Under this vision the poet is in charge of selecting and organising words in a particular way in order to achieve a poetic effect.

   ACITEOP is a programme that groups together different experimental tools used for constructing poetic narratives, both textual and visual, through the deconstruction of the poetic function of language using different algorithms.

   The result, which is different with each reading or interaction, is both a deconstructed text and a brand new piece of work generated from that same process of deconstruction.

   This first version is a simple example of the programme that creates a narrative based on text, sound and images, which begins with the deconstruction of the poem "Between What I See and What I Say" by Octavio Paz, who dedicated the poem to the Russian linguist Roman Jakobson after his death.

   Pelayo - 19.05.2011 - 13:34

3. Automatype

   Howe’s new piece, “Automatype,” which can be seen as either ambient text art, a weird game of solitaire for the computer, or an absorbing ongoing puzzle for a human viewer, is an apt demonstration of some of the powers of “RiTa,” as it uses algorithms to find the bridges between English words, Six-Degrees-of-Kevin-Bacon-style — not bridges of garbled nonsense but composed of normative English. You will spend either 10 seconds or 5 minutes staring at this thing; you will also see either a bunch of random words, or occasionally, if not always, engaging samples of minimalist poetry.

   (Source: The ELO 2012 Media Art Show.)

   Eric Dean Rasmussen - 23.04.2012 - 15:33

4. Stochastische Texte

   At this stage we shall report on a program which the author recently executed on the electronic mainframe ZUSE Z 22 at the T.H. Stuttgart computer center. The machine was used to generate stochastic texts i.e. sentences where the words are determined randomly. The Z 22 is especially suited to applications in extra-mathematical areas. It is particularly suited to programs with a very logical structure i.e. for programs containing many logical decisions. The machine's ability to be able to print the results immediately, on demand, on a teleprinter is ideal for scientific problems.

   (Source: Theo Lutz, "Stochastische Texte", in: augenblick 4 (1959), H. 1, S. 3-9)

   Johannes Auer - 09.11.2012 - 10:49

5. Beabá

   Este programa foi concebido como um primeiro passo para gerar "palavras" ao acaso. A forma mais simples de gerar "palavras" ao acaso, seria sortear conjuntos de letras de vários comprimentos (por ex., conjuntos de cinco letras). Os conjuntos gerados teriam pouca semelhança com palavras de uma língua, se bem que, por acaso algumas das "palavras" geradas poderiam existir. Para gerar "palavras" com sonoridade semelhante à de uma determinada língua, devemos descobrir algumas de suas regras características . No caso do português, definimos as seguintes regras para nossas primeiras tentativas: a) As "palavras" teriam seis (6) letras . b) As "palavras" alternariam vogais (v) e consoantes (c). c) As probabilidades da escolha dos conjuntos vc e cv deveriam refletir as probabilidades com que estes conjuntos aparecem na língua portuguesa. Assim as palavras seriam do tipo cvcvcv ou vcvcvc. Para atribuir as probabilidades, deveriamos fazer um estudo detalhado das probabilidades com que, por ex., os vários pares cv e vc (ou tríades cvc e vcv) aparecem na língua purtuguesa, particularmente nas palavras com seis letras.

   Luciana Gattass - 03.07.2013 - 19:36